His lyrics had been compared to that of the Kinks frontmant Ray Davies, while the album's psychedelia overtones evoked the Beatles' late 1960s period and contemporary baggy acts the Charlatans and Happy Mondays.

Jesus Jones were being tagged as grebo by the music press, alongside contemporaries Gaye Bikers on Acid and Pop Will Eat Itself, much to the chagrin of frontman Mike Edwards.

[2] By the end of the year, they had a publishing deal and a manager;[3] Edwards was confident about this success, though mentioned that it quickly shifted into scrutiny, "doubt and a lack of self-confidence.

[5] Edwards had started writing material for the next album while the label was busy with releasing Liquidizer,[6] which had been issued in the United States by SBK Records.

[5] Jesus Jones recorded new material in early 1990 prior to touring in Romania, shortly after the revolution, and across mainland Europe with the Cramps.

[5] The members of Jesus Jones had slowly become aware of what Baker dubbed "the sample wars", exemplified by the Turtles suing De La Soul.

[13] The New York Times's Jon Pareles wrote that the album "layers on swirls of sound that recall late-1960's psychedelia," in particular the Beatles late 1960s period,[14] which Doug Iverson of Toledo Blade compared to baggy acts the Charlatans and Happy Mondays.

[5] Edwards said the album's title partially stemmed from the intensive interviews, where he was being quizzed on "everything the band and I had done and were doing" when promoting Liquidizer, which coincided with him dealing with depression.

[4] Steve Hochman of Los Angeles Times wrote that Edwards' lyricism came across with an "wit and sentimental eye in the tradition" of Ray Davies from the Kinks.

[5] He went on to say that the songs were representations of the locations they visited, individuals they interacted with, the uplifting outlook which they had from being a new act, alongside the "uncertainty, the fear of failure, and the doubt" they faced.

Why" uses an Eastern melody,[13] extrapolated from an African-esque chant[5] that Edwards found on a tape of African music that he learned from the Willesden Library in London.

[20] The dance-rock track "International Bright Young Thing"[22] mixes the tape loop experimentation of "Tomorrow Never Knows" (1966) by the Beatles with the contemporary beats from dance music.

[24] Select writer Neil Perry thought that it showed an evolution of the band's sound, "now a little tighter with the bluster and rush but still full blast on atmosphere".

The initial demo of it was influenced by Sly and the Family Stone and Jackson's Rhythm Nation (1989), as they tried to make a swingbeat track in the style of Teddy Riley,[5] giving it the working title "Janet".

[14] It features acoustic guitar parts over synthesizers and the ticking of a programmed snare drum,[13] and talks about the double standards of the Victorian era.

[18] Perry referred to it as a "nightmare soundscape that changes from tortured screaming to a super-funky freak-out",[19] while Baker remarked that it was the "sound of a band who are listening to way too much Big Black" and attempting to distil that into a pop song.

[34] The following month, the band played a Andy Kershaw session for BBC Radio 1, where they performed "Right Here, Right Now", "International Bright Young Thing" and "Trust Me",[5] and went on a tour of the UK.

[22] SBK Records would gave the band a large amount of promotion in an attempt to break them in America, despite them being an alternative act amongst a roster of Wilson Phillips and Vanilla Ice.

[7] The band performed at the Great British Music Weekend, a tie-in with the Brit Awards which featured leftfield acts, including the Farm and Ride.

[33] Jesus Jones ended the year headlining a Food Records Christmas show alongside labelmates Blur, Diesel Park West and Whirlpool.

[62] "Welcome Back Victoria" was released as a promotional radio single in 1991, with the album version and a CHR remix done by Gary Hellman and John Luongo.

AllMusic reviewer Steve Huey said it "benefits greatly from Mike Edwards' improved songwriting, as well as a better idea of how to effectively fuse guitar-rock with samples and dance-club beats".

[74] In a review for Entertainment Weekly, journalist Simon Reynolds added to this, saying it was "close to a perfect fusion of rock and house" music,[76] with Chabe singling out "International Bright Young Thing" as a prime example.

The Washington Post writer Mark Jenkins wrote that with Edwards "layering sing-along refrains over hammering synthetic rhythms and associated racket," the album "retains the sass and savvy" of Liquidizer.

[22] In a retrospective piece for Pitchfork, contributor Chris Ott thought that the album's "techno-rock synthesis has aged disastrously"; despite this, he mentioned that it was "agonizingly samey and overflowing with filler".

[106] Jesus Jones had two Grammy Awards nominations: Doubt for Best Alternative Music Album and "Right Here, Right Now" for Best Pop Performance by a Duo or Group with Vocals.

AJ Ramierz of PopMatters wrote that both "Right Here, Right Now" and "Unbelievable" would date "obscenely fast, a trait that relegated those singles to the status of curious novelties not long after", with their respective follow-up releases being "forgotten cast-offs of a big Brit-led dance-rock intersection which never materialized".

[111] Duerden said there was speculation of another British Invasion of the US charts,[12] with God Fodder (1991) by Ned's Atomic Dustbin following shortly after, though this did not ultimately occur.

[114] The staff at Toledo Blade said Jesus Jones' success, alongside that of Nirvana, helped to obscure the lines between alternative and mainstream music in 1991.

[7] Christopher Lloyd of Louder Than War wrote in 2014 that the band "pioneer[ed] the use computers and samplers to create intelligent indie pop music, and history never really paid them their dues for doing so".